Whysall Lane: Whysall Lane (Blackball)

Despite the admirable and consistently excellent offerings from Versus’ members Fontaine Toups (in Containe and TFT), James Baluyut and Patrick Ramos (both in +/-), the absence of any substantial recorded material from Versus’ leader (Richard Baluyut) has left fans in a state of extended mourning for that (mostly) defunct, much-beloved band—a situation made worse by the fact that Richard’s current band, Whysall Lane, has been promising to release an album for several years now.

The wait is indeed over; and though the album isn’t likely to overshadow the superior output of his former band, Richard Baluyut’s new material is strong enough to keep fans happy—particularly “Time Machine” and “The Way Back,” as both nearly interchangeable with Versus’ best stuff (thanks in no small part to shockingly Toups-like vocals supplied by another excellent female bassist, Mikel Delgado).

I suppose it might drive musicians crazy to be compared with their previous bands (perhaps even more maddening for Baluyut’s new bandmates, neither of whom had any role in Versus), but when the sound of the bands are this similar (Whysall Lane could easily pass for a new Versus disc), to ignore Baluyut’s former band would be remiss. Which isn’t to say that the album is a direct surrogate—Versus’ final album (Hurrah) was a slightly less than enthusiastic follow-up to the double-whammy of Secret Swingers and Two Cents Plus Tax—and even if Whysall Lane were a Versus album, this would be a continuation of the gradually diminishing intensity.

Still, Baluyut is a songwriter who has always had a tremendous gift for bringing an atypical degree of specificity to the typical breakup song, and he displays that talent frequently here. Even more to the point, Baluyut’s ability to crisscross the line between the unfairly jilted lover and unblinking stalker personae (“I wanted to propose to you while we were sitting in dark/We poured our blood upon the fire/But in the morning, where were you?” he coolly sings on “Pillows”) puts many of his compositions in league with Elvis Costello’s infamous “I Want You.” Though this is a dubious distinction, the willingness with which Baluyut assumes traditionally disturbing roles is nothing short of mesmerizing. (www.whysall-lane.com)

7 Blips out of 10 By Paul B. Sikes